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The Who by numbers at Jazz Fest: Union Jack coffee mug on the drum riser: one. Curse words – about nine. Roger Daltrey harmonica solos: three. Pete Townshend guitar windmills – many. Classic songs – all of them. Buttons eventually unbuttoned on Daltrey's shirt – also, all of them.
Ironically, the only time the sun came out at Jazz Fest on Saturday (April 25) was for the Englishmen. The day's intermittent rain dried up as the set opened with "Can't Explain," and rays finally peeked through as the familiar, mathematical synthesizer intro to the penultimate "Baba O'Riley" began its up-and-down progression. The Jazz Fest gig, part of the Who's ongoing 50th anniversary tour, was the band's first U.S. festival appearance since Woodstock. A bit of snark from Daltrey early in the set ( "Festivals are fabulous! So much fresh air" ) suggested that the band is not particularly partial to the variables of outdoor performances: rain, wind, uncertain sound, et cetera. It was lucky, then, that the festival forces of nature smiled on their anniversary visit; the Who delivered 50 years' worth of power, all the hits, and a sprinkling of comedy to boot.
The normal anniversary-tour show must be longer than the two hours Jazz Fest allotted. We learned that the band had trimmed down its set to fit after a false start to "Kids are Alright," which Daltrey informed Townshend was actually one of the culled. Unfazed by the hiccup, he broke the fest's clean-language policy for what would be the first of many times, announcing, "It's all right, (expletive) happens. Who gives a (expletive?) Pete, maybe." Townshend gave a long and blue introduction to "Pictures of Lily," which went something like this:
"This anniversary tour is supposed to be all the hits, but we actually haven't had many hits. But there should be many songs you know. If you haven't listened to our greatest-hits collections, they're a kind of academic treatise every young person should go through. Now, I wrote this song when I was 21 or 22. I had a very beautiful girlfriend, but had only recently just stopped masturbating. She had three postcards on her wall, Victorian, and they were of Lillie Langtry, who (expletive) the king, or something." (Pause, conference)
"Not on the menu, is it? Well, let me play a little of it."
If the Who had a reality show, perhaps on the BBC and titled something like "Cranky Old Englishmen with Guitars," it could be very popular. They were playful; they had entertaining senses of humor, and they surely did not take themselves, or their job, overly seriously, the latter of which is probably the key to what makes a legacy act exciting or not.
The 2015 touring version of the Who is twice the size of the original band, of which Daltrey and Townshend are the two remaining living members. All six new guys (Pete's brother Simon Townshend on backing vocals and guitar, Ringo's son Zak Starkey, quite mod in his striped T-shirt and bleached mop-top, bashing the drums – "Noisy little (expletive)," Pete called him by way of introduction – bassist Pino Palladino, keyboardists John Corey and Loren Gold and multi-instrumentalist music director Frank Simes) earn their pay, making the Who's big noise: waves of keyboard crashing in and out like surf, jackhammer drums and acres of guitar crunch and wobble.
It was about a half an hour in that the band kicked into gear, fully engaging the muscle and complexity behind its most well-loved songs. "My Generation," the perennial low-hanging fruit for anyone wanting to make fun of baby boomers who decline to put down their guitars, was a familiar, electric pre-punk snarl. Daltrey's brawny yell warmed up on it, and got primal on the snaky "Magic Bus" that followed, with a psychedelic clatter of percussion and a fierce blues harmonica solo to close it out. Townshend, windmilling and wobbling his whammy bar throughout, got into a special place on his red-and-white Stratocaster during a suite of five songs from the rock opera "Tommy," a big, layered, triumphant slice of the show that slid directly into "Baba O'Riley." In a 1968 interview with Rolling Stone, Townshend had explained what he hoped to do with "Tommy," still in the planning stages:
"The music has got to explain what happens, that the boy elevates, and finds something which is incredible. To us, it's nothing to be able to see and hear and speak, but to him, it's absolutely incredible and overwhelming; this is what we want to do musically," he told the magazine.
"Lyrically, it's quite easy to do it, in fact I've written it out several times. It makes great poetry, but so much depends on the music, so much. I'm hoping that we can do it. The lyrics are going to be OK, but every pitfall of what we're trying to say lies in the music, lies in the way we play the music, the way we interpret, the way things are going during the opera."
The "Tommy" set was the show's pinnacle, a reminder of with what nuance Townshend can write and play, and what conviction and charisma Daltrey brings as a frontman. During the closing "Won't Get Fooled Again," the wry Pete Townshend gave himself a quick champion's moment, raising his arms as if to say, "Ta-da!"
"Not bad for a bunch of noisy old farts," he said.
Set list:
Can't Explain
The Seeker
Who Are You
Squeeze Box
I Can See For Miles
My Generation
Magic Bus
Behind Blue Eyes
Bargain
Join Together
You Better You Bet
I'm One
Love Reign O'er Me
Eminence Front
"Tommy" suite: Amazing Journey/ Captain Walker (It's A Boy)/ Sparks/ Pinball Wizard/ See Me, Feel Me
Baba O'Riley
Won't Get Fooled Again
Edited 1 time(s). Last edit at 2015-04-28 17:09 by GasLightStreet.